Collectif9 is an ensemble that has no equal when it comes to putting together original programmes that stand out from the majority of offerings on the classical/contemporary cultural calendar. They start by building a concept, an idea, a narrative line, then combine it with music from all eras, revealing the sometimes unsuspected chemistry between a medieval song and a contemporary creation. Their concerts also have the added advantage of being carefully staged and lit, sometimes with the addition of projections and dance. You’ll tell me that many people are capable of cogitating on this kind of proposal. That’s true, but what’s not so easy is the quality of their collective performance, always at the highest level of precision and emotional and intellectual involvement. Regardless of what others do and who might do it, Collectif9’s product is constantly at the pinnacle of the qualitative possibilities of the musical experience. Rituaels is a show that I attended a few years ago and was completely won over. I’ll let Andrea Stewart and Thibault Bertin-Maghit, the ensemble’s founder, describe the idea:
Rituæls is a collection of music from the medieval to the modern era with a narrative – an artistic gesture – that recalls the human tradition of passing on knowledge and practices in culture and art. An element of continuity ties each work of music to the next, whether introduced as a drone or held note, a chord that imperceptibly transforms, or a group of continuously repeated notes.
The architecture of the whole programme is impeccably thought out. The selection begins with a placid drone that is also a group improvisation inspired by the electronic music of Eliane Radigue. Not surprisingly, it continues with a magnificent arrangement of a piece by Hildegarde de Bingen, followed by a piece by Arvo Pärt (Psalom). Almost a thousand years apart, the two sound worlds respond perfectly to each other, exchanging introspective atmospheres of great spirituality. Nicole Lizée’sAnother Living Soul takes up the contemplative character of the two previous pieces, but sprinkles it with a few delicate asperities, like small crumbs creating discreet ripples on the surface of a sleeping lake. The dynamics become more muscular as the music progresses, preparing the ground for the Dessner piece later, but without clashing with the spirit of the programme.
Further on, Bryce Dessner (The National) energises the programme with Aheym, a motoric piece in a nervous, exciting minimalist style. Summa (by Pärt, again) calms the spirits, then Exaudi (by the late Canadian Jocelyn Morlock) and Tenebre (by Dessner, for a second time) complete the programme with sonic plunges that are still calm but pulsating with strong emotional intensity.
It’s an album of music that’s soothing and nourishing, emotionally, intellectually and even spiritually.
Collectif9 will be visiting the Saguenay Lac-St-Jean region in April 2025. CONSULT THEIR CALENDAR FOR FULL DETAILS
